If open-ended tangents in storytelling grate your cinematic patience, Braid will be a most cumbersome affair. This overglorification of optical presentation should not be taken as a pure sell (from experience).
Your eyes will remain fixated and overtaken, a testament to artistic style and mesmerizing visual storytelling by way of substance abuse alternate universes.
It is, on a virtuosically artistic level, a moving sight to behold as purples, pinks and yellows turn green gardens into PCP-transported gumdrop forests. Punk Alice In Wonderland exploitation? A Lynchian headtrip dashed with Ana Lily Amirpour's sense of sensationalism? Pastel-blasted mind imprisonment thrills paced by Mozart remixes and experimental unrest? Peirone revels in a sandboxed layered with multicolored granules, splattered with blood and overseen by no regulating party. It's difficult to define a film like Braid. Abide by Daphne's rules, last 48 hours and walk away rich – how hard can it be? To do so, they must participate in a role-playing fantasy that dates back to younger days where Tilda is Daphne's daughter and Petula stars as "Doctor." It all feeds into Daphne's schizophrenic mind – best described by her current isolation despite the massive estate's manor grounds.
After narrowly escaping an apartment drug bust (their product), the duo hops a train with intent to visit childhood friend Daphne ( Madeline Brewer) – and steal her fortune. The film loosely follows twenty-something(ish?) fugitives Petula ( Imogen Waterhouse) and Tilda ( Sarah Hay).
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